I’m getting closer to a fully updated studio and, more importantly, finally sitting down to paint. However, added some responsive lighting for the cabinet and display case!

Right now, I’m still in the setup and research phase, but it feels like I’m building real momentum. This stage is less about output and more about preparation, making sure that when I start, I can move fast, stay consistent, and focus purely on creative execution.

Transitioning to Dropper Bottles

One of the biggest shifts in my practice is moving away from traditional paint pots and toward dropper bottles. 

While I’ve been happy with Citadel paints overall, the packaging has always felt like a limitation. With the investment I’ve made in high-end brushes, especially from El Miniaturista, I want to protect them and extend their lifespan as much as possible.

Dropper bottles solve several problems at once:

• Reduce the risk of paint creeping into the ferrule, which can ruin brushes over time

• Improve paint control and consistency when mixing

• Work much better with a wet palette

• Minimize paint exposure to air, helping preserve the paint longer

This change is less about brand loyalty and more about building a system that supports precision and longevity.

First Attempt at Making Rivets

I’ve also started exploring some basic kitbashing techniques, starting with rivet creation.

After watching Valbjorn’s tutorial on making rivets, I decided to try it myself. I didn’t have pewter sheets on hand, so I experimented with heavy-duty aluminum foil instead. It’s not a perfect substitute, but it was a good way to understand the process and start building the skill.

This is something I’m surprised I didn’t try sooner, especially given how impactful small details like rivets can be on a finished model.

Validating Tools and Materials

I also spent some time reviewing product choices and overall value. A breakdown by Ninjon comparing Games Workshop products to alternatives was especially helpful.

It reinforced that many of the decisions I’ve made so far, especially around tools, paints, and materials, are setting me up well for higher-end work. That kind of validation is important at this stage, as I’m trying to build a reliable and repeatable workflow rather than constantly second-guessing purchases.

Material Study: Iridescent Chitin

In preparation for painting Tyranids, I started looking into how iridescent insect shells actually work.

Old attempt at Iridescent.

Iridescence in bugs isn’t caused by pigment, but by microscopic surface structures that refract and interfere with light. These layered structures bend different wavelengths depending on the viewing angle, creating that shifting, oil-slick effect often seen in beetles and other insects.

Understanding this is important because it changes how I approach painting. Instead of thinking in terms of static color, I need to think in terms of:

• Layered transparency

• Controlled reflections

• Color shifting through glazing and interference effects

This will directly inform how I approach chitin on Tyranid models moving forward.

Resources This Week

Here are the key resources I explored during this phase:

• Paint Transfer to Dropper Bottles
  https://www.youtube.com/watch?v=Ljn4lilimdg

• Making Rivets
  https://www.youtube.com/watch?v=AFa3CqreZM4

• Product Value Breakdown
  https://www.youtube.com/watch?v=ahf4wBeJ5Fw

• Iridescent Material Study
  https://www.youtube.com/watch?v=RJbIWQc2NuU&t=629s

This week has been about setting the foundation. The tools are coming together, the workflow is taking shape, and the research is starting to translate into clear direction.

Next step: Hopefully paint actually hits the model.

Old Studio

New Studio Collapsed

New Studio (In process)

Whelp, a significant portion of the grant funding has now been deployed, and I’ve been tracking every purchase carefully in a Google Sheet. At this stage, the majority of the studio infrastructure is complete. Core equipment has been purchased, built, scavenged, installed, and set up, and I’ve also placed orders for most of the paint that will support the next phase of work. What this marks is a shift from preparation into execution.

From a budget perspective, the spending so far reflects front-loaded investments (I hope). Education, airbrush infrastructure, lighting, ergonomics, and documentation tools make up the foundation of a studio that can support long, focused sessions and repeatable results. These are not consumables but durable systems that reduce friction, improve consistency, and allow me to spend more time painting and less time fighting my setup.

I also made the decision to acquire a few difficult-to-find models early, while availability was guaranteed, and I’m intentionally holding off on the rest. There’s no rush to accumulate everything at once. The goal is to work deliberately, not to overwhelm the pipeline before the studio workflow is fully dialed in.

Before paint ever touches a model, I’m also making a small but meaningful workflow change. I’ll be transferring my most frequently used Citadel paints into dropper bottles and fully abandoning open-mouth pots. This supports more accurate thinning, repeatable mixes, and better long-term paint longevity. It’s a quiet optimization, but one that aligns with competition-level habits from what I understand.

Finally, I’ve been revisiting fundamentals around paint preparation, particularly spray paint thinning and mixing, drawing directly from lessons by Marco Frisoni. I feel confident in how I will approach priming and base coating next week, when painting actually begins.

Right now, this phase is about building trust in the process (And putting stickers on stuff). The studio is coming online, the systems are in place, and the work ahead feels structured rather than rushed. I feel the ol'battery charging and can't wait to create things!

One of the most misunderstood aspects of high-level miniature painting is that progress doesn’t come from talent alone. It comes from environment, education, and deliberate practice. As I move deeper into my long-term goal of competing at the Golden Demon level, I’ve been intentionally building a studio ecosystem that supports focus, consistency, and growth.

This post documents the tools, materials, and instructors I’m investing in, not as a shopping flex, but as a record of how I’m constructing a sustainable practice around miniature art. I plan to update this post as it evolves.

Learning From Masters: Ongoing Instruction & Mentorship

At the core of my growth is continuous learning. Rather than chasing random tutorials, I’ve committed to a small number of instructors whose philosophies align with how I want to paint.

Subscribed Instructors:

Juan Sanz, El Miniaturista

Juan’s work embodies precision, powerful color, and technical excellence. His teaching emphasizes method, planning, and intentional contrast. This is exactly the mindset required for competition-level pieces.

Duncan Rhodes, Painting Academy

Duncan’s academy is foundational. It reinforces fundamentals such as brush control, layering, and consistency. These are easy to overlook when chasing advanced techniques. It is always important to return to the basics.

Valbjorn, Shield Wall

Valbjorn specializes in kitbashing and customizing models that emphasize mood, narrative, and texture. His approach helps bridge the gap between technical execution and storytelling. This is critical for display pieces and honestly one of my favorite aspects of the hobby.

Together, these subscriptions form a balanced triangle of precision, fundamentals, and atmosphere.

Airbrush & Paint Infrastructure:

Rather than rushing into complex effects, I’m prioritizing consistency, longevity, and silence in my airbrush setup. I want something that allows for long sessions without fatigue or distraction.

Airbrush & Compressor System

Silentaire Super Silent DR-150 Air Compressor

A professional-grade, oil-less compressor chosen specifically for its near-silent operation and reliability. I want to be able to work for hours without noise becoming a mental tax. Not sure where it'll be stored. I considering a wheelable cart for additional storage and movability. 

Iwata Eclipse HP-CS Gravity Feed with 10-foot Braided Nylon Air Hose

A proven workhorse that is versatile enough for priming, basecoats, and controlled modulation.

Paasche HB-16-2F Hobby Spray Booth  Kit

Small and fits on my secretary desk. Not sure where it'll be stored but if I can a wheelable cart maybe stored with the compressor. 

DIY Spray booth bucket system

My partner nixed me cutting a hole in my house wall so Im going to make a bucket filter for my airbrush over spray. 
How To Use A Bucket To Vent A Spray Booth - Bucket Hack For Airbrushing by Barbatos Rex

Iwata Universal Airbrush Holder

Holds two airbrushes, allowing room to expand if I add a second brush later.

This setup prioritizes predictability over novelty. This is a theme you will see repeated throughout my studio choices.

Brushes:

El Miniaturista, Juan Sanz Signature Brush Set, five pieces

Kolinsky sable rounds and arrows paired with a goat-hair drybrush. This set reinforces discipline through sharp tips, paint control, and deliberate stroke placement. There are no shortcuts.

I chose to further support El Miniaturista and trust his brush line. I have several dozen older and well-used brushes, but none of comparable quality. I need tools for final execution, as well as brushes I can be rough on without concern.

Quality of Life, Lighting, Filming, and Documentation

Painting is only half the journey. Your comfort and documentation matter, both for longevity, reflection and for sharing progress with the community.

VISION AID Magnifying Glasses with LED Light, Headband, 5 Lenses

I'm getting old and I really appreciate all the comfort, various magnification levels, and additional lighting.

Camera & Mounting

NearStream VM20 4K Streaming Camera

– Not purchased yet

NearStream ST40 Adjustable Dual-Arm Desk Mount

– Not purchased yet

I’m excited, and honestly very humbled, to share that I’ve been accepted into the Washington State Arts Commission’s Wellness, Arts, and Military (WAM) Self-Directed Art Practice (SAP) grant program. This support will directly aid my journey toward competing in Golden Demon in 2027. A huge shoutout to Reama Bubblez for encouraging me to apply. 

This isn’t just an announcement; it’s my goal and guiding star.

For the past couple of years, ever since my mother passed, I have taken up miniature painting as both therapy and escape. It is a place where I have a sense of control, where I can tell my stories, and something I can focus on to help me breathe emotionally during these difficult times. Like many artists, I have balanced this practice alongside full-time work, family life, and the constant pressure to be “productive” in ways that are easy to measure.

This grant changes that equation. It creates space, specifically a new studio space, to support my pursuit of something I have only dreamed about.

Old studio, circa 2023

Why Golden Demon?

The Golden Demon is the pinnacle of miniature painting competitions, drawing thousands of entries each year from painters around the world. Artists of all skill levels are invited to submit their finest work in pursuit of glory, bragging rights, coveted trophies, and a hard-earned sense of accomplishment at the highest level of the hobby.

At each event, the very best is named the overall winner and awarded the legendary Slayer Sword, an icon of mastery few will ever hold. For me, though, Golden Demon isn’t about winning. It’s about pushing myself and discovering where I truly stand.

The competition represents a benchmark of craftsmanship that rewards clarity of vision, technical excellence, storytelling, and restraint. Every brushstroke must earn its place. Every material choice carries consequences. There are no shortcuts, only work, patience, and focus.

Committing to Golden Demon means committing to:

• Slowing down

• Planning before execution

• Failing early and often

• Letting critique sharpen the work instead of protecting my ego

What the Grant Makes Possible:

The support from this grant allows me to:

• Invest in higher-quality materials and tools

• Allocate dedicated, protected time for experimentation and study

• Learn directly from artists whose work I deeply respect

• Push beyond “good enough” into deliberate, uncomfortable growth

More importantly, it allows me to treat this project as a professional-level endeavor, not a personal hobby.

What Comes Next

Over the coming months, I will be documenting the process openly:

• Concept development and narrative planning

• Technical studies, material testing, and sourced references

• Failures, revisions, and dead ends

• Lessons learned along the way

This will not be a highlight reel. It will be the real work, with the messy middle included.

I see this as stewardship of an opportunity. The grant is an investment, and my responsibility is to honor it with rigor, transparency, and care. Whether or not the final piece earns a trophy, the goal is growth that is visible, earned, and lasting.

Thank you to everyone who has encouraged me, challenged me, or quietly followed my work over the years. This is just the beginning, and it is a beginning I am stepping into with intention.

— Gavin 

Armillaria Ostoyae, ‘The Mother of Maggots’ - Knight Abominant is the center piece of my Death Guard Company. This model uses the Knight Abominant stock model and is heavily converted using scoby leather as the mushroom cap material. Additionally a big shoutout to MrClayRotten(etsy.com/shop/MrClayRotten) and his awesome maggot sculpts.  

The Maggot - Foetid Bloat-drone features a converted flesh mower crafted from toothpicks and wall-mount screws. I must admit, I find 'The Maggot' oddly endearing and cute—perhaps there's something wrong with me! 

Lord Salutem Sicarius, the Lord of Virulence, was once a Vindicare Assassin, a lethal marksman sent to assassinate Plague Lord Phalloides Amanita. This proved to be the former servant of the Corpse God's final mistake. Like Nurgle's gifts, following his failed mission, this crippled and wounded assassin was bestowed with the eternal blessing of the grandfather of plagues. The Plague Company of Lord Amanita took him in and reengineered him. Now, instead of seeking the perfect firing position to pinpoint their quarry, he now serves as the spearhead of Pulse of the Maggots' assaults, a vector of virulence and execution.

This conversion was unplanned; Games Workshop sent me this for my first year with Warhammer+ as my free miniature. I love the idea of a corrupted symbol of the Adepta Sororitas being filled with a plagued fallen servant of the Emperor. This piece was so inspiring in terms of narrative that I felt compelled to convert a squad of Sisters of Battle into my Plague Marines, as I didn't have them yet. So far, I had only planned to use Terminators and heavy assault units for my army. This was a beautiful opportunity to begin an opposing force at home, one that my friends and family might hope to stand against my Fly Lord's chosen. 

Lucilia Sericata, 'Sower of the Rotting Fields,' arose from the ashes of a fallen empire under the Rot Prince's reign. Her form was created from sundered war machines and the unrelenting embrace of Nurgle's contagion. Spawned to harvest from the corpses and leave effluence in her wake, she left naught but decay and despair, a testament to the inexorable march of destruction and terror of a defiler.

This large, heavily converted Defiler is made from various bits and green stuff, to the extent that it almost feels more like a terrain piece than a unit. It was a true joy to make, and I felt a sense of sadness when it was completed.

Navis Nefarious - Cultists (Corrupted Breachers) were loyalist Naval close-quarter troops who became trapped on a space hulk. Gradually succumbing to Nurgle's influence as they fought to survive, they eventually surrendered to his service for escape and the promise of eternal joy in disease.

This unit converted a 5 man unit of 40k and 30k Death Guard terminators. I wanted them to all be very unique and ancient as they've been fighting since the Horus Heresy. This was too much fun. I couldn't be happier with how epic and unique each one feels.